Among the kinds of poetry chiefly affected by the earlier Greeks must also be included the “gnomic” or “sententious” verse which goes under the names of Theognis and Phocylides. These writers both lived in the sixth century B.C., and both composed versified maxims or precepts of conduct and worldly wisdom. After times came to credit to those great originals any verses of this character which were current in the elegiac or the hexameter metre, and such verses played very much the same part in Greek mouths as is played by the Proverbs of Solomon or by proverbial philosophy of unknown authorship in the mouths of Englishmen. At a later date in the iambic metre the comic poet Menander introduced into his plays a large number of maxims, which gained wide vogue and which caused many more of the same species to be fathered upon him. Of the various wise saws thus current in Greece a great number were translated or adapted by Latin writers, and have so passed into the general possession of the European world. * * * * * Between the years 500 and 400 B.C. there arose in Athens that which is the special poetic glory of that city—the drama, embracing both the drama of tragedy, as wrought by Aeschylus, Sophocles, and Euripides, and the drama of comedy, as built by Aristophanes, and later, in a different form and spirit, by Menander. The Attic drama arose on Grecian ground. At one time choruses danced round the altar of the wine-god Dionysus (or Bacchus), and chanted songs in his honour. The chorus had its leader, the Coryphaeus. In time it became the fashion for the Coryphaeus to personate the god, or some character whom story connected with him. He recited a speech, or related some legend, in which the wine-god was concerned. It naturally followed that he was next raised upon a low dais, and distinguished from the rest of the chorus. The dais later became the dramatic stage. Subsequently another member of the chorus was told off to converse with him in rough dialogue, the theme being still the history of Bacchus. So far, then, we have a chorus which dances and sings, and two actors supporting crude dramatic parts. It was from these simple beginnings that there grew to perfection in Athens, as suddenly as the Shakespearean perfection arose from the old miracle-plays and “moralities” in England, noble dramas like those of Aeschylus and Sophocles. The open sward had become a theatre, the acting art, the dialogue poetry. Drama had been raised to an art of the most absolute literary completeness. It must, however, be observed that the tragedy which grew up in this way was religious in its origin. Until the end it—theoretically at least—remained so. Its subject-matter and laws were, therefore, limited. The stage was at the same time a pulpit for moral and religious teaching. The theatre was, moreover, national. Here are some important elements of artistic difference. Those